Byzantine Chant Notation – Written Documents in an Aural Tradition In memory of Kenneth Levy (* New York 1927 — † Princeton 2013) by Christian Troelsgård February 16, 2014 Abstract This paper has its focus on the character of Byzantine musical notation, its develop- ment, varieties, and specialisation for various chant genres of the monastic and cathe- dral rites. Special attention is given to the complementarity of memory, notated chant books, and liturgical books without notation (including text-only hymnals and litur- gical orders, the so-called typiká). Further, mechanics of oral-aural transmission of Byzantine chant are discussed. Finally, the impact of location and architectural space on the aural side of the chant transmission is addressed. 1 Introductory remarks Byzantine chant might be defined as the music used for the celebration of the Byzantine Rite, and at the same time having historical links to musical traditions of the Byzantine Empire. Such a definition is neither exclusive with regard to language, nor to geographical area and ecclesiastical affiliation, and it focuses on the functional nature of ritual music. In addition, a close relation between music and text is stressed. I shall in these pages try to focus on themes regarding the creation and transmission of chanted melodies that pertain some of the various periods, regions and areas in which Byzantine chant has been cultivated. This approach may match the state of the source material, in which we – geographically and chronologically – must accept the existence of great ‘lacunae’. Thus we are forced to realise how much – and in many instances how little – can be known about the medieval traditions of Byzantine chant.